{"id":1732,"date":"2025-01-27T21:39:06","date_gmt":"2025-01-28T02:39:06","guid":{"rendered":"https:\/\/www.fimav.qc.ca\/experimental-film-program\/"},"modified":"2026-04-14T12:14:22","modified_gmt":"2026-04-14T16:14:22","slug":"experimental-film-program","status":"publish","type":"page","link":"https:\/\/www.fimav.qc.ca\/en\/experimental-film-program\/","title":{"rendered":"Experimental Films"},"content":{"rendered":"\n

Experimental Films<\/h2>\n\n
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Le Carr\u00e9 150 | Salle Les-fr\u00e8res-Lemaire<\/mark><\/h3>\n\n\n\n

Hommage Pierre H\u00e9bert<\/h3>\n\n\n\n

Curator: Karl Lemieux<\/strong><\/p>\n\n\n\n

Program 1 | 16 may | 11 a.m.<\/h3>\n\n\n\n

Lo\u00efc Darses<\/a> \u00ab Graver l\u2019homme : arr\u00eat sur Pierre H\u00e9bert \u00bb<\/strong><\/h4>\n\n\n\n

2024, 1 h 17 min, Documentary<\/strong><\/p>\n\n\n\n

Structured like a master class in film engraving, Scratches of Life: The Art of Pierre H\u00e9bert is a tribute to the pioneering animator, whose scratch-on-film technique has long served as a vessel for his restless artistic exploration. Director Lo\u00efc Darses traces H\u00e9bert\u2019s journey from his early abstract works at the NFB to his later documentary-animation hybrids, revealing an artist who has never ceased to question, experiment, and reflect on the world around him. The film captures both the man and his body of work, peeling back the layers of his process to uncover his thoughts on history, identity, and mortality. As H\u00e9bert candidly reflects on his artistic and personal journey, Scratches of Life becomes a testament to the enduring power of creative reinvention. <\/p>\n\n\n\n

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Programme 2 | 17 may | 11 a.m.<\/h3>\n\n\n\n
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Films de Pierre H\u00e9bert<\/h3>\n\n\n\n
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Pierre H\u00e9bert<\/a> \u00ab Opus-1 \u00bb<\/strong><\/strong><\/h4>\n\n\n\n

1964, 5 min, Experimental<\/p>\n\n\n\n

Abstract film originally made in 1964 and remastered in 2006.<\/p>\n\n\n\n

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Pierre H\u00e9bert<\/a> \u00ab Op Hop – Hop Op \u00bb<\/strong><\/h4>\n\n\n\n

1966, 3 min, Experimental<\/p>\n\n\n\n

Animated film made using a series of twenty-four positive and negative images presented in a chaotic manner or according to a methodical composition. A visual experiment, it subjects the eye to a continuous and violent stream of images; also an experiment in terms of the individual’s participation, it attempts to polarize their mental and perceptive activity and then throw them into a state of meditation. <\/p>\n\n\n\n

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Pierre H\u00e9bert<\/a> \u00ab Souvenirs de guerre \u00bb<\/strong><\/h4>\n\n\n\n

1982, 16 min, Animation <\/p>\n\n\n\n

Short animated film about war. A climate of latent violence and insecurity is increasingly weighing on the world. In high places, people are daring to speak publicly about the possibility of a world war. This beautiful animated film expresses concern about what the future holds for our children… and for ourselves. How can we get used to the idea of war, to its apparent necessity? Will we go and kill our fellow human beings in other countries, or will we have an atomic bomb dropped on our heads? A lullaby to scare children. <\/p>\n\n\n\n

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Pierre H\u00e9bert<\/a> \u00ab Mais un oiseau ne chantait pas \u00bb<\/strong><\/strong><\/h4>\n\n\n\n

2018, 6 min, Experimental<\/p>\n\n\n\n

This film, part of the Scratch<\/em> project, is a visual interpretation of Malcolm Goldstein’s musical piece for solo violin based on a folk song from Bosnia and Herzegovina. The composer describes it as a gesture of hope for peace in this region devastated by war in the 1990s. <\/p>\n\n\n\n

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Pierre H\u00e9bert<\/a> \u00ab Silence et noirceur \u2013 chemins divergents<\/strong><\/strong> \u00bb<\/strong><\/h4>\n\n\n\n

2026, 31 min, Experimental <\/p>\n\n\n\n

Film shot on celluloid, edited and directed by Pierre H\u00e9bert. This version of the Scratch<\/em> series is a simulation of a performance using two desynchronized 16mm projectors, accompanied by improvisations by Malcolm Goldstein (violin) and John Heward (drums), recorded separately while they watched a copy of a performance at the Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise. The instruction was not to try to be synchronized with the image and to progress from an initial state of very short interventions, separated by long silences, to a more intense and continuous performance. <\/p>\n\n\n\n

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